Some Literary Notes III

________________________________________________
_ (Woman's World, March 1889.)

Miss Nesbit has already made herself a name as a writer of graceful and charming verse, and though her last volume, Leaves of Life, does not show any distinct advance on her former work, it still fully maintains the high standard already achieved, and justifies the reputation of the author. There are some wonderfully pretty poems in it, poems full of quick touches of fancy, and of pleasant ripples of rhyme; and here and there a poignant note of passion flashes across the song, as a scarlet thread flashes through the shuttlerace of a loom, giving a new value to the delicate tints, and bringing the scheme of colour to a higher and more perfect key. In Miss Nesbit's earlier volume, the Lays and Legends, as it was called, there was an attempt to give poetic form to humanitarian dreams and socialistic aspirations; but the poems that dealt with these subjects were, on the whole, the least successful of the collection; and with the quick, critical instinct of an artist, Miss Nesbit seems to have recognised this. In the present volume, at any rate, such poems are rare, and these few felicitous verses give us the poet's defence:

A singer sings of rights and wrongs,
Of world's ideals vast and bright,
And feels the impotence of songs
To scourge the wrong or help the right;
And only writhes to feel how vain
Are songs as weapons for his fight;
And so he turns to love again,
And sings of love for heart's delight.

For heart's delight the singers bind
The wreath of roses round the head,
And will not loose it lest they find
Time victor, and the roses dead.
'Man can but sing of what he knows--
I saw the roses fresh and red!'
And so they sing the deathless rose,
With withered roses garlanded.

And some within their bosom hide
Their rose of love still fresh and fair,
And walk in silence, satisfied
To keep its folded fragrance rare.
And some--who bear a flag unfurled--
Wreathe with their rose the flag they bear,
And sing their banner for the world,
And for their heart the roses there.

Yet thus much choice in singing is;
We sing the good, the true, the just,
Passionate duty turned to bliss,
And honour growing out of trust.
Freedom we sing, and would not lose
Her lightest footprint in life's dust.
We sing of her because we choose,
We sing of love because we must.

Certainly Miss Nesbit is at her best when she sings of love and nature. Here she is close to her subject, and her temperament gives colour and form to the various dramatic moods that are either suggested by Nature herself or brought to Nature for interpretation. This, for instance, is very sweet and graceful:

When all the skies with snow were grey,
And all the earth with snow was white,
I wandered down a still wood way,
And there I met my heart's delight
Slow moving through the silent wood,
The spirit of its solitude:
The brown birds and the lichened tree
Seemed less a part of it than she.

Where pheasants' feet and rabbits' feet
Had marked the snow with traces small,
I saw the footprints of my sweet--
The sweetest woodland thing of all.
With Christmas roses in her hand,
One heart-beat's space I saw her stand;
And then I let her pass, and stood
Lone in an empty world of wood.

And though by that same path I've passed
Down that same woodland every day,
That meeting was the first and last,
And she is hopelessly away.
I wonder was she really there--
Her hands, and eyes, and lips, and hair?
Or was it but my dreaming sent
Her image down the way I went?

Empty the woods are where we met--
They will be empty in the spring;
The cowslip and the violet
Will die without her gathering.
But dare I dream one radiant day
Red rose-wreathed she will pass this way
Across the glad and honoured grass;
And then--I will not let her pass.

And this Dedication, with its tender silver-grey notes of colour, is charming:

In any meadow where your feet may tread,
In any garland that your love may wear,
May be the flower whose hidden fragrance shed
Wakes some old hope or numbs some old despair,
And makes life's grief not quite so hard to bear,
And makes life's joy more poignant and more dear
Because of some delight dead many a year.

Or in some cottage garden there may be
The flower whose scent is memory for you;
The sturdy southern-wood, the frail sweet-pea,
Bring back the swallow's cheep, the pigeon's coo,
And youth, and hope, and all the dreams they knew,
The evening star, the hedges grey with mist,
The silent porch where Love's first kiss was kissed.

So in my garden may you chance to find
Or royal rose or quiet meadow flower,
Whose scent may be with some dear dream entwined,
And give you back the ghost of some sweet hour,
As lilies fragrant from an August shower,
Or airs of June that over bean-fields blow,
Bring back the sweetness of my long ago.

All through the volume we find the same dexterous refining of old themes, which is indeed the best thing that our lesser singers can give us, and a thing always delightful. There is no garden so well tilled but it can bear another blossom, and though the subject-matter of Miss Nesbit's book is as the subject-matter of almost all books of poetry, she can certainly lend a new grace and a subtle sweetness to almost everything on which she writes.

The Wanderings of Oisin and Other Poems is from the clever pen of Mr. W. B. Yeats, whose charming anthology of Irish fairy-tales I had occasion to notice in a recent number of the Woman's World. {437} It is, I believe, the first volume of poems that Mr. Yeats has published, and it is certainly full of promise. It must be admitted that many of the poems are too fragmentary, too incomplete. They read like stray scenes out of unfinished plays, like things only half remembered, or, at best, but dimly seen. But the architectonic power of construction, the power to build up and make perfect a harmonious whole, is nearly always the latest, as it certainly is the highest, development of the artistic temperament. It is somewhat unfair to expect it in early work.

Footnote: {437} See page 406.

One quality Mr. Yeats has in a marked degree, a quality that is not common in the work of our minor poets, and is therefore all the more welcome to us--I mean the romantic temper. He is essentially Celtic, and his verse, at its best, is Celtic also. Strongly influenced by Keats, he seems to study how to 'load every rift with ore,' yet is more fascinated by the beauty of words than by the beauty of metrical music. The spirit that dominates the whole book is perhaps more valuable than any individual poem or particular passage, but this from The Wanderings of Oisin is worth quoting. It describes the ride to the Island of Forgetfulness:

And the ears of the horse went sinking away in the hollow light,
For, as drift from a sailor slow drowning the gleams of the world and the sun,
Ceased on our hands and faces, on hazel and oak leaf, the light,
And the stars were blotted above us, and the whole of the world was one;

Till the horse gave a whinny; for cumbrous with stems of the hazel and oak,
Of hollies, and hazels, and oak-trees, a valley was sloping away
From his hoofs in the heavy grasses, with monstrous slumbering folk,
Their mighty and naked and gleaming bodies heaped loose where they lay.

More comely than man may make them, inlaid with silver and gold,
Were arrow and shield and war-axe, arrow and spear and blade,
And dew-blanched horns, in whose hollows a child of three years old
Could sleep on a couch of rushes, round and about them laid.

And this, which deals with the old legend of the city lying under the waters of a lake, is strange and interesting:

The maker of the stars and worlds
Sat underneath the market cross,
And the old men were walking, walking,
And little boys played pitch-and-toss.

'The props,' said He, 'of stars and worlds
Are prayers of patient men and good.'
The boys, the women, and old men,
Listening, upon their shadows stood.

A grey professor passing cried,
'How few the mind's intemperance rule!
What shallow thoughts about deep things!
The world grows old and plays the fool.'

The mayor came, leaning his left ear--
There were some talking of the poor--
And to himself cried, 'Communist!'
And hurried to the guardhouse door.

The bishop came with open book,
Whispering along the sunny path;
There was some talking of man's God,
His God of stupor and of wrath.

The bishop murmured, 'Atheist!
How sinfully the wicked scoff!'
And sent the old men on their way,
And drove the boys and women off.

The place was empty now of people;
A cock came by upon his toes;
An old horse looked across the fence,
And rubbed along the rail his nose.

The maker of the stars and worlds
To His own house did Him betake,
And on that city dropped a tear,
And now that city is a lake.

Mr. Yeats has a great deal of invention, and some of the poems in his book, such as Mosada, Jealousy, and The Island of Statues, are very finely conceived. It is impossible to doubt, after reading his present volume, that he will some day give us work of high import. Up to this he has been merely trying the strings of his instrument, running over the keys.

* * * * *

Lady Munster's Dorinda is an exceedingly clever novel. The heroine is a sort of well-born Becky Sharp, only much more beautiful than Becky, or at least than Thackeray's portraits of her, which, however, have always seemed to me rather ill-natured. I feel sure that Mrs. Rawdon Crawley was extremely pretty, and I have never understood how it was that Thackeray could caricature with his pencil so fascinating a creation of his pen. In the first chapter of Lady Munster's novel we find Dorinda at a fashionable school, and the sketches of the three old ladies who preside over the select seminary are very amusing. Dorinda is not very popular, and grave suspicions rest upon her of having stolen a cheque. This is a startling debut for a heroine, and I was a little afraid at first that Dorinda, after undergoing endless humiliations, would be proved innocent in the last chapter. It was quite a relief to find that Dorinda was guilty. In fact, Dorinda is a kleptomaniac; that is to say, she is a member of the upper classes who spends her time in collecting works of art that do not belong to her. This, however, is only one of her accomplishments, and it does not occupy any important place in the story till the last volume is reached. Here we find Dorinda married to a Styrian Prince, and living in the luxury for which she had always longed. Unfortunately, while staying in the house of a friend she is detected stealing some rare enamels. Her punishment, as described by Lady Munster, is extremely severe; and when she finally commits suicide, maddened by the imprisonment to which her husband had subjected her, it is difficult not to feel a good deal of pity for her. Lady Munster writes a very clever, bright style, and has a wonderful faculty of drawing in a few sentences the most lifelike portraits of social types and social exceptions. Sir Jasper Broke and his sister, the Duke and Duchess of Cheviotdale, Lord and Lady Glenalmond, and Lord Baltimore, are all admirably drawn. The 'novel of high life,' as it used to be called, has of late years fallen into disrepute. Instead of duchesses in Mayfair, we have philanthropic young ladies in Whitechapel; and the fashionable and brilliant young dandies, in whom Disraeli and Bulwer Lytton took such delight, have been entirely wiped out as heroes of fiction by hardworking curates in the East End. The aim of most of our modern novelists seems to be, not to write good novels, but to write novels that will do good; and I am afraid that they are under the impression that fashionable life is not an edifying subject. They wish to reform the morals, rather than to portray the manners of their age. They have made the novel the mode of propaganda. It is possible, however, that Dorinda points to some coming change, and certainly it would be a pity if the Muse of Fiction confined her attention entirely to the East End.

* * * * *

The four remarkable women whom Mrs. Walford has chosen as the subjects of her Four Biographies from 'Blackwood' are Jane Taylor, Elizabeth Fry, Hannah More, and Mary Somerville. Perhaps it is too much to say that Jane Taylor is remarkable. In her day she was said to have been 'known to four continents,' and Sir Walter Scott described her as 'among the first women of her time'; but no one now cares to read Essays in Rhyme, or Display, though the latter is really a very clever novel and full of capital things. Elizabeth Fry is, of course, one of the great personalities of this century, at any rate in the particular sphere to which she devoted herself, and ranks with the many uncanonised saints whom the world has loved, and whose memory is sweet. Mrs. Walford gives a most interesting account of her. We see her first a gay, laughing, flaxen-haired girl, 'mightily addicted to fun,' pleased to be finely dressed and sent to the opera to see the 'Prince,' and be seen by him; pleased to exhibit her pretty figure in a becoming scarlet riding-habit, and to be looked at with obvious homage by the young officers quartered hard by, as she rode along the Norfolk lanes; 'dissipated' by simply hearing their band play in the square, and made giddy by the veriest trifle: 'an idle, flirting, worldly girl,' to use her own words. Then came the eventful day when 'in purple boots laced with scarlet' she went to hear William Savery preach at the Meeting House. This was the turning- point of her life, her psychological moment, as the phrase goes. After it came the era of 'thees' and 'thous,' of the drab gown and the beaver hat, of the visits to Newgate and the convict ships, of the work of rescuing the outcast and seeking the lost. Mrs. Walford quotes the following interesting account of the famous interview with Queen Charlotte at the Mansion-House:

Inside the Egyptian Hall there was a subject for Hayter--the diminutive stature of the Queen, covered with diamonds, and her countenance lighted up with the kindest benevolence; Mrs. Fry, her simple Quaker's dress adding to the height of her figure--though a little flushed--preserving her wonted calmness of look and manner; several of the bishops standing near; the platform crowded with waving feathers, jewels, and orders; the hall lined with spectators, gaily and nobly clad, and the centre filled with hundreds of children, brought there from their different schools to be examined. A murmur of applause ran through the assemblage as the Queen took Mrs. Fry by the hand. The murmur was followed by a clap and a shout, which was taken up by the multitudes without till it died away in the distance.

Those who regard Hannah More as a prim maiden lady of the conventional type, with a pious and literary turn of mind, will be obliged to change their views should they read Mrs. Walford's admirable sketch of the authoress of Percy. Hannah More was a brilliant wit, a femme d'esprit, passionately fond of society, and loved by society in return. When the serious-minded little country girl, who at the age of eight had covered a whole quire of paper with letters seeking to reform imaginary depraved characters, and with return epistles full of contrition and promises of amendment, paid her first visit to London, she became at once the intimate friend of Johnson, Burke, Sir Joshua Reynolds, Garrick, and most of the distinguished people of the day, delighting them by her charm, and grace, and wit. 'I dined at the Adelphi yesterday,' she writes in one of her letters. 'Garrick was the very soul of the company, and I never saw Johnson in more perfect good-humour. After all had risen to go we stood round them for above an hour, laughing, in defiance of every rule of decorum and Chesterfield. I believe we should never have thought of sitting down, nor of parting, had not an impertinent watchman been saucily vociferating. Johnson outstaid them all, and sat with me for half an hour.' The following is from her sister's pen:

On Tuesday evening we drank tea at Sir Joshua's with Dr. Johnson. Hannah is certainly a great favourite. She was placed next him, and they had the entire conversation to themselves. They were both in remarkably high spirits, and it was certainly her lucky night; I never heard her say so many good things. The old genius was as jocular as the young one was pleasant. You would have imagined we were at some comedy had you heard our peals of laughter. They certainly tried which could 'pepper the highest,' and it is not clear to me that the lexicographer was really the highest seasoner.

Hannah More was certainly, as Mrs. Walford says, 'the feted and caressed idol of society.' The theatre at Bristol vaunted, 'Boast we not a More?' and the learned cits at Oxford inscribed their acknowledgment of her authority. Horace Walpole sat on the doorstep--or threatened to do so--till she promised to go down to Strawberry Hill; Foster quoted her; Mrs. Thrale twined her arms about her; Wilberforce consulted her and employed her. When The Estimate of the Religion of the Fashionable World was published anonymously, 'Aut Morus, aut Angelus,' exclaimed the Bishop of London, before he had read six pages. Of her village stories and ballads two million copies were sold during the first year. Caelebs in Search of a Wife ran into thirty editions. Mrs. Barbauld writes to tell her about 'a good and sensible woman' of her acquaintance, who, on being asked how she contrived to divert herself in the country, replied, 'I have my spinning-wheel and my Hannah More. When I have spun one pound of flax I put on another, and when I have finished my book I begin it again. _I want no other amusement_.' How incredible it all sounds! No wonder that Mrs. Walford exclaims, 'No other amusement! Good heavens! Breathes there a man, woman, or child with soul so quiescent nowadays as to be satisfied with reels of flax and yards of Hannah More? Give us Hannah's company, but not--not her writings!' It is only fair to say that Mrs. Walford has thoroughly carried out the views she expresses in this passage, for she gives us nothing of Hannah More's grandiloquent literary productions, and yet succeeds in making us know her thoroughly. The whole book is well written, but the biography of Hannah More is a wonderfully brilliant sketch, and deserves great praise.

* * * * *

Miss Mabel Wotton has invented a new form of picture-gallery. Feeling that the visible aspect of men and women can be expressed in literature no less than through the medium of line and colour, she has collected together a series of Word Portraits of Famous Writers extending from Geoffrey Chaucer to Mrs. Henry Wood. It is a far cry from the author of the Canterbury Tales to the authoress of East Lynne; but as a beauty, at any rate, Mrs. Wood deserved to be described, and we hear of the pure oval of her face, of her perfect mouth, her 'dazzling' complexion, and the extraordinary youth by which 'she kept to the last the . . . freshness of a young girl.' Many of the 'famous writers' seem to have been very ugly. Thomson, the poet, was of a dull countenance, and a gross, unanimated, uninviting appearance; Richardson looked 'like a plump white mouse in a wig.' Pope is described in the Guardian, in 1713, as 'a lively little creature, with long arms and legs: a spider is no ill emblem of him. He has been taken at a distance for a small windmill.' Charles Kingsley appears as 'rather tall, very angular, surprisingly awkward, with thin staggering legs, a hatchet face adorned with scraggy gray whiskers, a faculty for falling into the most ungainly attitudes, and making the most hideous contortions of visage and frame; with a rough provincial accent and an uncouth way of speaking which would be set down for absurd caricature on the boards of a comic theatre.' Lamb is described by Carlyle as 'the leanest of mankind; tiny black breeches buttoned to the knee-cap and no further, surmounting spindle legs also in black, face and head fineish, black, bony, lean, and of a Jew type rather'; and Talfourd says that the best portrait of him is his own description of Braham--'a compound of the Jew, the gentleman, and the angel.' William Godwin was 'short and stout, his clothes loosely and carelessly put on, and usually old and worn; his hands were generally in his pockets; he had a remarkably large, bald head, and a weak voice; seeming generally half asleep when he walked, and even when he talked.' Lord Charlemont spoke of David Hume as more like a 'turtle-eating alderman' than 'a refined philosopher.' Mary Russell Mitford was ill- naturedly described by L.E.L. as 'Sancho Panza in petticoats!'; and as for poor Rogers, who was somewhat cadaverous, the descriptions given of him are quite dreadful. Lord Dudley once asked him 'why, now that he could afford it, he did not set up his hearse,' and it is said that Sydney Smith gave him mortal offence by recommending him 'when he sat for his portrait to be drawn saying his prayers, with his face hidden in his hands,' christened him the 'Death dandy,' and wrote underneath a picture of him, 'Painted in his lifetime.' We must console ourselves--if not with Mr. Hardy's statement that 'ideal physical beauty is incompatible with mental development, and a full recognition of the evil of things'--at least with the pictures of those who had some comeliness, and grace, and charm. Dr. Grosart says of a miniature of Edmund Spenser, 'It is an exquisitely beautiful face. The brow is ample, the lips thin but mobile, the eyes a grayish-blue, the hair and beard a golden red (as of "red monie" of the ballads) or goldenly chestnut, the nose with semi-transparent nostril and keen, the chin firm-poised, the expression refined and delicate. Altogether just such "presentment" of the Poet of Beauty par excellence, as one would have imagined.' Antony Wood describes Sir Richard Lovelace as being, at the age of sixteen, 'the most amiable and beautiful person that ever eye beheld.' Nor need we wonder at this when we remember the portrait of Lovelace that hangs at Dulwich College. Barry Cornwall, described himself by S. C. Hall as 'a decidedly rather pretty little fellow,' said of Keats: 'His countenance lives in my mind as one of singular beauty and brightness,--it had an expression as if he had been looking on some glorious sight.' Chatterton and Byron were splendidly handsome, and beauty of a high spiritual order may be claimed both for Milton and Shelley, though an industrious gentleman lately wrote a book in two volumes apparently for the purpose of proving that the latter of these two poets had a snub nose. Hazlitt once said that 'A man's life may be a lie to himself and others, and yet a picture painted of him by a great artist would probably stamp his character.' Few of the word-portraits in Miss Wotton's book can be said to have been drawn by a great artist, but they are all interesting, and Miss Wotton has certainly shown a wonderful amount of industry in collecting her references and in grouping them. It is not a book to be read through from beginning to end, but it is a delightful book to glance at, and by its means one can raise the ghosts of the dead, at least as well as the Psychical Society can.

(1) Leaves of Life. By E. Nesbit. (Longmans, Green and Co.)

(2) The Wanderings of Oisin and Other Poems. By W. B. Yeats. (Kegan Paul.)

(3) Dorinda. By Lady Munster. (Hurst and Blackett.)

(4) Four Biographies from 'Blackwood.' By Mrs. Walford. (Blackwood and Sons.)

(5) Word Portraits of Famous Writers. Edited by Mabel Wotton. (Bentley and Son.) _

Read next: Mr. William Morris's Last Book

Read previous: Mr. Brander Matthews' Essays

Table of content of Reviews


GO TO TOP OF SCREEN

Post your review
Your review will be placed after the table of content of this book